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    Apocalypse Now: On Heinrich von Kleist, Caspar David Friedrich, and the Emergence of Abstract Art

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    Meyertholen_2013_GermanQuarterly.pdf (855.1Kb)
    Issue Date
    2013
    Author
    Meyertholen, Andrea
    Publisher
    Wiley Online Library
    Type
    Article
    Article Version
    Scholarly/refereed, author accepted manuscript
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    Abstract
    While discussions of abstract art usually imply that the movement began in the twentieth century, its conceptualization pre‐dates its identification as a distinct tendency in the visual arts. One early text that articulates the premises of abstract art is Heinrich von Kleist's “Empfindungen vor Friedrichs Seelandschaft,” his narrative response from 1810 to Caspar David Friedrich's controversial painting Der Mönch am Meer. For all its inherent radicality and despite its departure from mimetic representation, Der Mönch am Meer does not constitute a leap on the part of Friedrich to abstract aesthetics. Rather, I argue that, in his re‐imagining of Der Mönch am Meer, Kleist crosses this threshold, constituting a vision of nonrepresentational art nearly a century prior to its purported existence. As I show by examining both painting and prose, what Friedrich anticipates with his visual image, Kleist describes in his written text.
    URI
    http://hdl.handle.net/1808/26719
    DOI
    https://doi.org/10.1111/gequ.10189
    Collections
    • German Scholarly Works [79]
    Citation
    Meyertholen, Andrea. “Apocalypse Now: On Heinrich von Kleist, Caspar David Friedrich, and the Emergence of Abstract Art.” German Quarterly 86.4 (2013): 404 - 419.

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    Contact KU ScholarWorks
    785-864-8983
    KU Libraries
    1425 Jayhawk Blvd
    Lawrence, KS 66045
    785-864-8983

    KU Libraries
    1425 Jayhawk Blvd
    Lawrence, KS 66045
    Image Credits
     

     

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